MODULAR GRID notes & research Alina Nicholas
Alina Nicholas 2/26/20 Linda Talleur 5 Designers Research Swiss Style Swiss style or International Style is a type of design that emerged from Russia, the Netherlands, and Germany in the nineteen hundreds. It had an enormous influence on design, art, typography, and architecture. The basic description of the swiss style is crisp, with blocky layouts, minimalist designs, and sans serif typefaces. However, these designs do extend into more descriptive elements such as symmetry and asymmetry, type, photographs, grids, and more. Typographic and international style should be guided by ethos so that the design should be as invisible as possible. The “content� and substance of the work should shine through. The use of asymmetric layouts worked very well during this era. This included layouts with text flush left, right, and more. Asymmetry doesn't always mean chaotic, it can show a greater sense of emphasis and minimalism as well as unity, whereas symmetry shows a good balance. Inspiration for a high modernist approach came from the intersection of design and art from an era of suprematism and constructivism in Russia. In 1917 during these eras, artists wanted to redefine design for a coming socialist era. This consisted of simplified geometric designs and strong sans serif typography. From this came the introduction of a mathematically placed grid and Helvetica. Helvetica is basically a synonym when you think of Swiss design. As well, the grid has created a long lasting impact on design and art all the way up to now. It is aesthetically pleasing and incredibly easy to use for graphic designers nowadays.
Rosmarle Tissi Romsmarle Tissi is a famous acclaimed swiss and international graphic designer. She began her schooling in Zurich arts and crafts school. She ended up changing her mind and decided to do a training course with a graphic designer named Siegfried Odermatt, who was a “master� of swiss graphic design. Her work involves a lot of cultural posters, some other theatre productions, some serenade concerts, exhibitions, events, commercial art, design banknotes, magazine covers and a few somewhat recognizable fonts. Tissi and Odermatt created a joint studio called Odermatt and Tissi where they maintained a good partnership while working separately on each one's commissions. Odermatt and Tissis work focused a lot on printed matter, posters, and custom typefaces for clients. Through her career she moved from a modern attitude to a more functional and neutral one, and again to an individualistic language. She better expressed herself through these things, these dynamic layouts, bright colors, and typographic experiments that all helped make her impact and contribute to the original swiss design layout. Her work is represented in a huge amount of Europe, United States, and Japan museums. Each of her designs contains a playful approach with a bold color contrast, typeface, and some geometrical shapes. Some of her more famous pieces include creating the font sinaloa. It has received numerous awards as well as a poster she designed for the two thousand and seven FIFA worlds cup in China. She is one of the most recognizable women designers and none of her work has lost its freshness and originality in the sixty years that she has been designing.
Josef MĂźller-Brockmann Josef Muller Brockmann was a swiss graphic designer and teacher. He was raised and born in Switzerland and studied architecture, design, and history of art at the University of Zurich school of arts and crafts. At the age of 43 he became a teacher at Zurich. Then, just the same as Rosmarie Tissi, another swiss designer, he decided to become an apprentice to a designer and advertising consultant named Walter Diggelmann. He opened a studio in Zurich that focused on graphic design, exhibition design, and photography. Brockmann was known for his simple designs that incorporate many colors and shapes as well as a clean use of his typography. He really liked to push his designs towards a more objective, radical, and geometric use within the grid system. In fact, he had created a universal graphic that expressed a grid based design that was exclusive of subjective feeling and had no extra illustrations. Some of his jobs included concert posters, founding editors for companies, and he was also made a european design consultant to the company IBM. In addition, he published a few books consisting of an in depth analysis of his work practices and philosophies. These readings really helped leave an impact on young aspiring designers interested in learning more about the profession. He said in an interview that he “aspired to communicate information about an idea, event, or product as expressible as possibleâ€?. He strived to make the audience make their own opinion of the piece rather than creating some ageless statement. Although he passed away on august 30, 1996, his work with typography and design impacted the world and still have their use today.
Paul Rand Paul Rand was an American art director and graphic designer. Rand was one of the first American commercial artists to embrace and practice the swiss style of graphic design. He was known for his corporate logo designs including a number of well known companies such as IBM, ABC, UPS, Enron, Morningstar, and more. He embraced design as a young child painting signs for his father's grocery store and for school events. The majority of his training and learning came from him reading a lot of european magazines as he was largely self taught. Paul worked as a professor of graphic design at Yale University and was inducted into New York's art directors hall of fame. He began with a part time job creating stock images and soon his class assignments and this job piled up and created a well off portfolio. One of his most famous designs appeared in direction magazine, where he earned a lot of international recognition. In addition, he later got job offers from other well known magazines, such as Esquire Coronet where he became an art director. He became a brand name for designing logos in corporate industries and gained recognition while working on a joint project with Steve Jobs. His designed used colorful combinations and media with typography to “defamiliarize the ordinary� while mixing visual arts and commercial design. Although he passed away in 1996, his work in the United States with corporate logos is seen everywhere around the world today.
Emil Ruder Emil Ruder was a swiss and international design typographer and teacher. Ruder is different from other designers because of the way he taught. He taught his students based on his approach to philosophy theory and a systematic practical methodology. In his practices, he also taught that typographies purpose was to communicate ideas through writing, as well as placing a very heavy importance on sans serif typefaces. Ruder completed training as a typesetter at the age of fifteen. Like most other swiss designers, during his education, he took up a compositors apprenticeship. He attended classes for typesetting and printing at the applied arts school in Zurich, just as many other swiss designers. It is said that no other designer has felt as strongly about letterpress typography or wrote about it with such conviction as Ruder did. While swiss design contained the use of the grid, Ruder used and created his own grid of nine squares as the base for different sizes of images. His style has been emulated by many designers and artists. As well, his use of grids has influenced the development of web design on many levels around the world.
Alina Nicholas 3/4/20 Making and Breaking the Grid - 14-21 Coming to Order - The Brave New World of Industry -
The industrial revolution changed the way people lived and made them seek a living in cities Power shift to manufacturers, merchants, and the working class Demand from urban population = lowered costs, increased availability French and american revolutions helped create more need for reading material
FItness of Purpose - William Morris - young student interested in poetry and architecture - Organized spaces that were asymmetrical, dictating shape of facade - John Ruskin - art could be basis of social order by unifying it with labor - Edward Bruen Jones - poet and painter - Philip Webb - Architect - designed red house in 1860 - Neoclassical model - a box layout with a symmetrical facade The Architecture of Space - Frank Lloyd Wright - systematic evolution away from organic - Modernism - proportional relationships, rectangular zones, asymmetrical organization - Mcdonalds - translated medieval flair of arts and crafts into more abstract and geometric articulations of space An Expanding Influence - Peter Behrens - german architect - People started to pursue simplicity and eschewed decoration - Sans serif typefaces - more uniformed, creates neutrality within text that emphasizes shape against surrounding white space, placement and interval take more importance
Rationalism, the machine aesthetic, and the search for universal culture - Werkbund sought to invent universal culture through design of everyday objects - Behren designed AEG lighting, kettles, and visual identity Constructivism - Suprematism - merged with cubism and futurism generated constructivism - Constructivism - an expression of russia's quest for a new order - Lissitzky - Architecture - Rationalist - looking for instruction in germany - Lissitzky poster - beat the whites with the red wedge : epitomizes abstract communicative power of form and typifies the work of russian avant garde from this period The bauhaus and the new order - After war, designers and architects turned to rebuilding - Weimar arts and crafts school started again with walter gropius - Bauahaus school - experimentation and rationalism became tools for building new social order Disseminating Asymmetry - Commercial world was oblivious to asymmetry - Jan Tschichold - assimilated the schools typographic approach and abstract sensibility - advocated reductive and intrinsically functional aesthetic - created compositions based on verbal function of words were foals that would liberate modern age - Die neue typographie - Use grid
Toward Neutrality - Designers and artist who used the new visual language were arrested/ forced to leave because of nazis gaining power - Bauhaus closed - Switzerland remain neutral and unaffected - Max bill - applied math based theories to professional projects in advertising and corporate identity - instituted grid Neue Grafik and the will to order - Module - small unit of space through repetition, integrates all parts of a page The Basel School - Contributed to the development of international style through an approach that appeared to be somewhat at odds with zurich designers - Dissemination of grid - Karl gernstner - went on to form his own practice and contributed to evolution of grid into mainstay of modern design practice The Corporate Grid - Grid use dominated european and american design - Orchestrated communications programs, large organizations, events, and corporations - Paul rand - pioneer of modern design in America - Vignelli and wife lella - Established office for design in milan - Found design collaborative unimark international
Alina Nicholas 2/27/20 Linda Talleur Making and Breaking the Grid :Grid Basics Benefits of working with the grid - Clarity, efficiency, economy, continuity - Systematic order to a layout - Allows individuals to collaborate on the same project, or on series of projects Breaking into page parts - Assess visual and semantic qualities of the typographic space - Typographic space is governed by a series of part to whole relationships - A single letter is part of a word, words together create a line, placing a line on a blank page creates a structure, then a paragraph is formed - By breaking space between the compositional field, designer can stimulate and involve the viewer - A passive composition created field of texture - Larger interval between lines and heavier weight can create emphasis - Creating emphasis can create Importance which establishes order or hierarchy Building an appropriate structure - Phase 1 - designer assess informational characteristics and production requirements of content - Phase 2 - laying out material according to guidelines by grid Manuscript grid - Simplest kind of grid - Base structure is rectangular area that takes up most of the page - Accommodates extensive continuous text, ex: book or essay - Large block of type is a passive gray composition, so you have to create something for the reader - Ways to produce visual interest - margins, size of text in the blok, space between lines, words - Traditional manuscript grids use margins that are symmetrical in width
Column Grid - Information that is discontinuous benefits from being organized into an arrangement of vertical columns - Can be dependent on each other for running text, independent for small blocks of text, or crossed over to make wider columns - Very flexible
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Find width of column that accommodates a comfortable number of characters in one line of type at a given size X - gutter between columns is given this measure Margins wider than column gutters - focus eye inward, easing tension between column edge and edge of format Subordinate structure - flowlines, vertical intervals, allow designer to use breaks in text or image on the page and create horizontal bands across the format Flowline near top of page - establishes position for running headers, pagination, or section dividers
Modular Grid - Extremely complex projects beyond what a column grid provides, use modular - Modular - a column grid with a large number of horizontal flow lines that subdivide columns into rows creating a matrix of cells called modules - Each module defines small chunk of informational space - Spatial zones - modules grouped together - Smaller modules - provide more flexibility and greater precision, can become confusing or redundant - Aesthetic image that designers find attractive - Celebrate objectivity, order, clarity and communication Hierarchical Grid - Conform to the needs of the information but are based on intuitive placement of alignments rather than on regular repeated intervals - Can unify disparate elements or create a superstructure that opposes organic elements like a poster - Can unify sides of packages or to create new visual arrangements if they are displayed in groups - Used to build books, web pages, posters - Organic approach to the way information and elements are ordered that still holds parts together
Variation and Violation - After grid, create a dynamic visual narrative of parts that will sustain interest page after page - A storyboard or thumbnails for each spread in the project can help designer get a sense of what content is going where and what still needs developed, can see rhythm of layout
Alina Nicholas 2/25/20 Linda Talleur Defining Terms Text Alignments: Justified Text, Flush Left, Flush Right - Justified text - crisp, vulnerable to awkward hyphens and rivers (gaps) - Flush left - easiest to read because we read it most often - Flush right - nice break but hard to read, only used for small captions & special callouts - Centered - prim & poetic passages, not meant for large amounts of text Parts of the grid: margin, gutter, column, module -
Margin - area between the main content of a page and the page edges, helps define where a line of text begins and ends Gutter - space between columns of type, determined by the number & width of columns Column - one or more vertical blocks of content positioned on a page, separated by gutters & rules
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Module - govern the placement, cropping of pictures, text
Font Family: Styles -
Traditional family - includes roman, italic, bold, small cap Super family - serif, sans serif, every style in between, these begin to work as complete typographic systems Extended family - can brand out, hairline, black, extended, condensed
Line Spacing/Leading -
amount of horizontal space between two texts
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Measured from baseline to baseline
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balance between point size and leading can keep things together and moving ahead
Tracking -
The overall spacing between letters in a block of text The larger the type the less letter spacing needed
Kerning -
Adjusting the space between individual letters
Hierarchy - Hierarchy = rank = order of importance - Gets people to look where you want them to look when you want them to look - Used through size, placement, color, weight, style
Alina Nicholas 2/25/20 Linda Talleur Thinking with Type : Grid Chapter Golden Section - A ratio between 2 numbers - Formula - a : b = b : (a + b) - Smaller of two elements related to larger element in the same way that the larger element relates to the two parts combined - 1 : 1,618 Multicolumn Grid - Provide flexible formats for publications that have complex hierarchy (text & illustration) Designing with a Hang Line - In addition to vertical zones with columns, you can also divide the page horizontally - In graphic design it's called a hang line, in architecture its called a datum Modular Grid - Consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right - Govern placement, cropping of pictures, text Baseline Grid - Modular grid are created by positioning guidelines in relation to a baseline grid that governs the whole document - Serve to anchor all layout elements to a common rhythm
Alina Nicholas 2/26/20 Linda Talleur Ellen Lupton : The Grid Notes What are things you want to avoid? - Dont center everything or float out to edges - Try not to be static What does Ellen mean by anchoring elements? - To create a mix of uniformity and variety - When blocks of text have an internal structure, the content is together and not anchored to the edges Can you find examples online that are both good and bad? - Yes, depending on content - Some are darker and some are lighter, both are good depending on layout What is line spacing/leading? - To create texture - To create open and closed fields of type that are lighter or darker How do you use it creatively? - Allows you to mix and match forms - Expressive How do you create emphasis in design? - By making things bold or using symbols and colors to show importance in certain things - Too much use of these things can create chaos
Alina Nicholas 2/26/20 Linda Talleur Asymmetry Notes Why is symmetry good - Many natural organisms are symmetrical - Symmetrical layouts are inherently balanced Why is asymmetry good - Distributing elements and moving them around until they feel balanced - Ex: mountain - Design that moves and changes Dynamic using asymmetry and symmetry - Suggest tension, movement, and growth - Can be through shapes and patterns
Alina Nicholas 2/26/20 Linda Talleur Scale and Tensions Notes When designers talk about scales - Element seems larger or smaller in context - Conveys meaning - Scale relationships can be conceptual, importance Things to avoid - Don't use big bold loud type What can using scale do - Convey meaning - Create tension - Create depth - Can tell a story - Show importance - Give a design energy and excitement
MODULAR GRID round 1
Font : Interstate
Typography: A Manual of Design 1967 Emil Ruder
Round 1:
Typography: A Manual of Design
Niggli Verlag
Alina Nicholas 2/3/20
1967
Emil Ruder
Niggli Verlag
Font : Interstate
1967 Emil Ruder
Niggli Verlag
Typography:
A Manual of Design 1967 Emil Ruder
Niggli Verlag
Typography: A Manual of Design Alina Nicholas 2/3/20
Font : Interstate
1967
Emil Ruder
Niggli Verlag
Typography: A Manual of Design Emil
Niggli
Ruder
Verlag
Typography: A Manual of Design
Alina Nicholas 2/3/20
1967
Font : Interstate
Typography: A Manual of
Design
Typography: A Manual of
Emil
1967
Ruder
Design Niggli
Emil
Verlag
Ruder
1967
Niggli Verlag
Round 1:
Alina Nicholas 2/3/20
Font : Interstate
Typography: A Manual of Design
Typography: A Manual of Design
1967
Emil Ruder
Niggli Verlag
1967
Emil Ruder
Niggli Verlag
Round 1:
Alina Nicholas 2/3/20
Font : Interstate
Emil
1967
Ruder
Niggli Verlag
Typography: A Manual of Design 1967
Round 1:
Typography: A Manual of Design
Alina Nicholas 2/3/20
Emil
Niggli
Ruder
Verlag
Font : Interstate
1967
Typography: A Manual of Design
Emil Ruder
Typography:
Niggli Verlag
A Manual of Design
Emil
Niggli
Ruder
Verlag
1967
Round 1:
Alina Nicholas 2/3/20
MODULAR GRID round 1b
Font : Interstate
1967 Emil Ruder
Niggli Verlag
TYPOGRAPHY:
a manual of design 1967 EMIL
NIGGLI
RUDER
VERLAG
Round 1:
typography: a manual of design
Alina Nicholas 2/3/20
Font : Interstate
TYPOGRAPHY: a manual of
Design
typography: A MANUAL OF
Emil
1967
Ruder
DESIGN Niggli
Emil
Verlag
Ruder
1967
Niggli Verlag
Alina Nicholas 2/3/20
Font : Interstate
Emil
1967
Ruder
Niggli Verlag
t y p o g r a p h y : A MANUAL OF DESIGN
1967
Round 1:
T y p o g r a p h y : a manual of DESIGN
Alina Nicholas 2/3/20
Emil
Niggli
Ruder
Verlag
MODULAR GRID round 2
Font : Interstate
Typography:
Typography:
A
A
Manual
Manual
of
of
Design
Design
Round 2:
1967
1967
Emil
Emil
Ruder
Ruder
Niggli
Niggli
Verlag
Verlag
Alina Nicholas 2/5/20
Font : Interstate
Typography:
Typography:
A
A
Manual
Manual
of
of
Design
Design
1967
1967
Emil
Emil
Ruder
Ruder
Niggli
Niggli
Verlag
Verlag
Alina Nicholas 2/5/20
Font : Interstate
Typography:
Typography:
A
A
Manual
Manual
of
of
Design
Design
1967
1967
Emil
Emil
Ruder
Ruder
Niggli
Niggli
Verlag
Verlag
Alina Nicholas 2/5/20
Font : Interstate
Emil
Emil
Ruder
Ruder
Niggli
Niggli
Verlag
Verlag
t y p o g r a p h y :
t y p o g r a p h y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
Round 2:
1967
Alina Nicholas 2/5/20
Font : Interstate
Emil
Emil
Ruder
Ruder
Niggli Verlag
t y p o g r a p h y :
t y p o g r a p h y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
1967
Niggli Verlag
Round 2:
Alina Nicholas 2/5/20
Font : Interstate
Emil
Emil
Ruder
Ruder
Niggli Verlag
t y p o g r a p h y :
t y p o g r a p h y :
A MANUAL OF DESIGN
A MANUAL OF DESIGN
1967
1967
Niggli Verlag
Round 2:
Alina Nicholas 2/5/20
Font : Interstate
TYPOGRAPHY:
TYPOGRAPHY:
a manual of design 1967
a manual of design 1967
EMIL
NIGGLI
EMIL
NIGGLI
RUDER
VERLAG
RUDER
VERLAG
Round 2:
Alina Nicholas 2/5/20
Font : Interstate
TYPOGRAPHY:
TYPOGRAPHY:
a manual of design 1967
a manual of design 1967
EMIL
NIGGLI
EMIL
NIGGLI
RUDER
VERLAG
RUDER
VERLAG
Round 2:
Alina Nicholas 2/5/20
Font : Interstate
EMIL RUDER
TYPOGRAPHY:
TYPOGRAPHY:
a manual of design 1967
a manual of design 1967
Round 2:
NIGGLI
EMIL
NIGGLI
VERLAG
RUDER
VERLAG
Alina Nicholas 2/5/20
MODULAR GRID round 3
Font : Interstate
1967
1967
TYPOGRAPHY:
typography:
a manual of design
A MANUAL OF DESIGN
Emil Ruder
Niggli Verlag Emil Ruder
Round 3:
Alina Nicholas 3/17/20
Niggli Verlag
Font : Interstate
Typography: A Manual of
Design
1967 Emil Ruder
Niggli Verlag
1967
typography: a manual of
Emil Niggli Ruder Verlag
DESIGN Alina Nicholas 3/17/20
Font : Interstate
1 9 6 7
Emil Ruder Niggli Verlag
typography : a
MANUAL TYPOGRAPHY : a manual of design
of
DESIGN 1967 Emil Ruder
Alina Nicholas 3/17/20
Niggli Verlag
Font : Interstate
Emil Ruder
typography : a manual of
DESIGN
Niggli Verlag t y p o g r a p h y : A MANUAL OF DESIGN
1967
1967 Emil Ruder
Round 3:
Niggli Verlag
Alina Nicholas 3/17/20
Font : Interstate
1967
Emil Ruder
Niggli Verlag
TYPOGRAPHY: a manual of design
Emil Ruder
19 67
TYPOGRAPHY: Niggli Verlag
Round 3:
a manual of design
Alina Nicholas 3/17/20
Font : Interstate
1967
EMIL RUDER NIGGLI VERLAG
Emil Ruder Niggli Verlag typography :
A MANUAL OF DESIGN
TYPOGRAPHY :
a manual of design
Round 3:
1967 Alina Nicholas 3/17/20
Font : Interstate
19 67
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY :
a manual of design
Round 3:
EMIL RUDER TYPOGRAPHY:
a manual of design 1967
NIGGLI VERLAG Alina Nicholas 3/17/20
Font : Interstate
1967
1967
typography : A MANUAL OF DESIGN
typography : A MANUAL OF DESIGN
Niggli Verlag
EMIL RUDER
NIGGLI VERLAG EMIL RUDER
Round 3:
Alina Nicholas 3/17/20
Font : Interstate
EMIL
19 67
RUDER
NIGGLI
Emil Ruder Niggli Verlag VERLAG
1967 typography : A MANUAL OF DESIGN
typography : A MANUAL OF DESIGN
Round 3:
Alina Nicholas 3/17/20
Font : Interstate
19
Typography: A Manual of
DESIGN
EMIL RUDER NIGGLI VERLAG typography : A MANUAL OF DESIGN
67 Round 3:
1967
Emil Niggli Ruder Verlag Alina Nicholas 3/17/20
MODULAR GRID round 3b
Font : Interstate
1 9 6 7
Emil Ruder
Niggli Verlag
EMIL ruder
TYPOGRAPHY : a manual of design NIGGLI verlag
t y p o g r a p h y : A MANUAL OF DESIGN
1967
Alina Nicholas 3/26
Font : Interstate
1967
Emil Ruder
19 67
Niggli Verlag
TYPOGRAPHY: a manual of design
Emil Ruder
TYPOGRAPHY: Niggli Verlag
Round 3b:
a manual of design
Alina Nicholas 3/26
Font : Interstate
1967
EMIL RUDER
Typography: A Manual of
DESIGN
NIGGLI VERLAG 1967
TYPOGRAPHY :
a manual of design
Round 3b:
Emil
Niggli
Ruder Verlag Alina Nicholas 3/26
Font : Interstate
19 67
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY :
a manual of design
Round 3b:
EMIL RUDER TYPOGRAPHY:
a manual of design 1967
NIGGLI VERLAG Alina Nicholas 3/26
Font : Interstate
19
1967 typography : A MANUAL OF DESIGN
EMIL RUDER NIGGLI VERLAG typography : A MANUAL OF DESIGN
67 Round 3b:
NIGGLI VERLAG EMIL RUDER Alina Nicholas 3/26
MODULAR GRID round 3b - five favorites
Font : Interstate
1967
1967 typography : A MANUAL OF DESIGN
TYPOGRAPHY: a manual of design
NIGGLI VERLAG
Emil Ruder
Niggli Verlag
EMIL RUDER Alina Nicholas 3/26
Font : Interstate
19 67
Typography: A Manual of
DESIGN
EMIL RUDER NIGGLI VERLAG
1967
Emil
Niggli TYPOGRAPHY :
Ruder Verlag Round 3b:
a manual of design
Alina Nicholas 3/26
Font : Interstate
1967
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY :
a manual of design
Round 3b:
Alina Nicholas 3/26
MODULAR GRID round 4
Back Cover
typography : A MANUAL OF DESIGN
Typography A Manual of Design
is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
typography : A MANUAL OF DESIGN
1967
Spine
Emil Ruder (1914–1970) was a Swiss typographer. He is
Round 4: v1
1967 typography : A MANUAL OF DESIGN
NIGGLI VERLAG
EMIL RUDER
distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Front Cover
EMIL RUDER
score and fold
Back Cover
typography : A MANUAL OF DESIGN
Typography A Manual of Design
is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
typography : A MANUAL OF DESIGN
1967
Spine
Emil Ruder (1914–1970) was a Swiss typographer. He is
Round 4: v1
1967 typography : A MANUAL OF DESIGN
NIGGLI VERLAG
EMIL RUDER
distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Front Cover
EMIL RUDER
score and fold
Back Cover
1967
Round 4: v1
RUDER
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
TYPOGRAPHY :
a manual of design
a manual of design
TYPOGRAPHY :
Front Cover
19 67
EMIL
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Spine
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY :
a manual of design
score and fold
Back Cover
1967
Round 4: v1
RUDER
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
TYPOGRAPHY :
a manual of design
a manual of design
TYPOGRAPHY :
Front Cover
19 67
EMIL
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Spine
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY :
a manual of design
score and fold
Back Cover
Spine
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
(1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Ruder
Round 4: v1
Emil Ruder
Ty p o g r a p h y : A M a n u a l o f D E S I G N
Verlag
Emil
Niggli
1967
Front Cover
Typography: A Manual of
DESIGN 1967
Emil
Niggli
Ruder Verlag score and fold
Back Cover
Spine
Typography A Manual of Design
Verlag Round 4: v1
1967
Emil Ruder
Niggli
Typography: A Manual of
DESIGN
DESIGN
is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
(1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Ty p o g r a p h y : A M a n u a l o f
Emil Ruder
Front Cover
1967
Emil
Niggli
Ruder Verlag score and fold
Back Cover
NIGGLI VERLAG
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is
TYPOGRAPHY : a manual of design
1967
Spine
Front Cover
1967
EMIL RUDER NIGGLI VERLAG
still widely used and referenced.
Emil Ruder
(1914–1970) was a Swiss typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
EMIL RUDER
teaching that consisted of philosophy, theory and a systematic practical
TYPOGRAPHY TYPOGRAPHY ::
a a manual manual of of design design
TYPOGRAPHY : a manual of design Round 4: v1
score and fold
Back Cover
NIGGLI VERLAG
Typography A Manual of Design is the legacy of Emil Ruder.The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Emil Ruder
TYPOGRAPHY : a manual of design
1967
Spine
Front Cover
1967
EMIL RUDER NIGGLI VERLAG
(1914–1970) was a Swiss typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
EMIL RUDER
teaching that consisted of philosophy, theory and a systematic practical
TYPOGRAPHY :
a manual of design
TYPOGRAPHY : a manual of design Round 4: v1
score and fold
Back Cover
Spine
(1914–1970) was a Swiss typographer. He is
Emil Ruder
Emil Ruder
distinguishable in the field of typography for developing a
Typography A Manual of Design
is a comprehensive
1967 Niggli Verlag
masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress
T Y P O G R A P H Y :
Ruder. The volume
to designing and
a manual of design
is the legacy of Emil
holistic approach
Front Cover
1967 TYPOGRAPHY: a manual of design
Emil Ruder
Niggli Verlag
typography or wrote about it with such conviction.
Round 4: v1
score and fold
Back Cover
Spine
(1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive
1967
its overall structure: in the themes presented, in the similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
teaching that consisted of philosophy, theory
1967 TYPOGRAPHY:
and a systematic practical methodology. Ruder was one of
a manual of design
the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or
T Y P O G R A P H Y :
comparison of
to designing and
a manual of design
Niggli Verlag
masterpiece seen in
holistic approach
Emil Ruder
Emil Ruder
Front Cover
Emil Ruder
Niggli Verlag
wrote about it with such conviction.
Round 4: v1
score and fold
MODULAR GRID round 4b - five favorites
Back Cover
typography : A MANUAL OF DESIGN
Typography A Manual of Design
is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
typography : A MANUAL OF DESIGN
1967
Spine
Emil Ruder (1914–1970) was a Swiss typographer. He is
Round 4: v1
1967 typography : A MANUAL OF DESIGN
NIGGLI VERLAG
EMIL RUDER
distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Front Cover
EMIL RUDER
score and fold
Back Cover
1967
Round 4: v1
RUDER
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
TYPOGRAPHY :
a manual of design
a manual of design
TYPOGRAPHY :
Front Cover
19 67
EMIL
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Spine
EMIL RUDER NIGGLI VERLAG
TYPOGRAPHY :
a manual of design
score and fold
Back Cover
Spine
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
(1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
Ruder
Round 4: v1
Emil Ruder
Ty p o g r a p h y : A M a n u a l o f D E S I G N
Verlag
Emil
Niggli
1967
Front Cover
Typography: A Manual of
DESIGN 1967
Emil
Niggli
Ruder Verlag score and fold
Back Cover
NIGGLI VERLAG
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is
TYPOGRAPHY : a manual of design
1967
Spine
Front Cover
1967
EMIL RUDER NIGGLI VERLAG
still widely used and referenced.
Emil Ruder
(1914–1970) was a Swiss typographer. He is distinguishable in
the field of typography for developing a holistic approach to designing and methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
EMIL RUDER
teaching that consisted of philosophy, theory and a systematic practical
TYPOGRAPHY TYPOGRAPHY ::
a a manual manual of of design design
TYPOGRAPHY : a manual of design Round 4: v1
score and fold
Back Cover
Spine
(1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a
Typography A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive
1967
its overall structure: in the themes presented, in the similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
teaching that consisted of philosophy, theory
1967 TYPOGRAPHY:
and a systematic practical methodology. Ruder was one of
a manual of design
the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or
T Y P O G R A P H Y :
comparison of
to designing and
a manual of design
Niggli Verlag
masterpiece seen in
holistic approach
Emil Ruder
Emil Ruder
Front Cover
Emil Ruder
Niggli Verlag
wrote about it with such conviction.
Round 4: v1
score and fold
MODULAR GRID round 4b - final five
Back Cover
Spine
typography : A MANUAL OF DESIGN
EMIL RUDER (1914–1970) was a Swiss typographer. He
typography : A MANUAL OF DESIGN
is distinguishable in the field of typog-
is the legacy of Emil Ruder. The volume
raphy for developing a holistic approach
is a comprehensive masterpiece seen in
to designing and teaching that consist-
its overall structure: in the themes
ed of philosophy, theory and a systemat-
presented, in the comparison of simi-
ic practical methodology. Ruder was one
larities and contrasts, in the richness of
of the major contributors to Swiss Style
the illu strations and the harmoniously
design. He taught that typography’s pur-
inserted types. Today, fifty years after
pose was to communicate ideas through
this book was first published, it is still
writing, as well as placing a heavy
widely used and referenced.
other designer since Jan Tschichold was as committed as Ruder to the discipline
about it with such conviction.
Round 4: v1
EMIL RUDER
1967 typography : A MANUAL OF DESIGN
NIGGLI VERLAG
EMIL RUDER
importance on Sans-serif typefaces. No
of letterpress typography or wrote
typography : A MANUAL OF DESIGN
NIGGLI VERLAG
Front Cover
EMIL RUDER
score and fold
Back Cover
volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
RUDER
NIGGLI
VERLAG
TYPOGRAPHY : a manual of design
Round 4: v1
RUDER
Emil Ruder (1914–1970) was a Swiss typographer. He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.
TYPOGRAPHY : a manual of design
EMIL
Front Cover
EMIL
Typography : A Manual of Design is the legacy of Emil Ruder. The
Spine
EMIL
RUDER
NIGGLI
VERLAG
19 67
TYPOGRAPHY : a manual of design
score and fold
Back Cover
Spine
is the legacy of Emil Ruder. The volume
(1914–1970) was a Swiss
is a comprehensive masterpiece seen
typographer. He is distinguishable
in its overall structure: in the themes
in the field of typography for devel-
presented, in the comparison of simi-
oping a holistic approach to design-
larities and contrasts, in the richness of
ing and teaching that consisted of
the illustrations and the harmoniously
philosophy, theory and a systematic
inserted types. Today, fifty years after
practical methodology. Ruder was
this book was first published, it is still
one of the major contributors to
widely used and referenced.
Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other
designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it
N i g g l i Ve r l a g
with such conviction.
Emil Ruder
Round 4: v1
Typography: A Manual of
DESIGN N i g g l i Ve r l a g Emil Ruder
Ruder
Typography : A Manual of DESIGN
Ty p o g r a p h y : A M a n u a l o f D E S I G N
Emil Ruder
Emil
Typography : A Manual of DESIGN
Front Cover
1967
score and fold
Back Cover
Spine
NIGGLI VERLAG Typography : A Manual of Design is the legacy of Emil Ruder. The volume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Today, fifty years after this book was first published, it is still widely used and referenced.
Emil Ruder
TYPOGRAPHY : a manual of design
EMIL RUDER
Front Cover
1967
EMIL RUDER NIGGLI VERLAG
(1914–1970) was a Swiss typographer. He is
distinguishable in the field of typography for developing a holistic theory and a systematic practical methodology. Ruder was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about
EMIL RUDER
approach to designing and teaching that consisted of philosophy,
TYPOGRAPHY TYPOGRAPHY ::
a a manual manual of of design design
it with such conviction.
TYPOGRAPHY : a manual of design Round 4: v1
score and fold
Back Cover
Spine
a manual of design
(1914–1970) was a Swiss typogra-
is the legacy of Emil Ruder. The
pher. He is distinguishable in the
volume is a comprehensive mas-
field of typography for developing
terpiece seen in its overall
a holistic approach to designing
structure: in the themes present-
and teaching that consisted of
ed, in the comparison of similari-
philosophy, theory and a system-
ties and contrasts, in the richness
atic practicalmethodology. Ruder
of the illustrations and the har-
was one of the major contributors
moniously inserted types. Today,
to Swiss Style design. He taught
fifty years after this book was
that typography’s purpose was to
first published, it is still widely
communicate ideas through writ-
used and referenced.
ing, as well as placing a heavyimportance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as
Emil Ruder
Ruder to the discipline of letter-
1967 TYPOGRAPHY: a manual of design
a manual of design
TYPOGRAPHY: a manual of design
T Y P O G R A P H Y :
Emil Ruder
Emil Ruder
TYPOGRAPHY:
Front Cover
Emil Ruder
press typography or wrote about it with such conviction.
Round 4: v1
Niggli Verlag
Niggli Verlag
score and fold